peter paul reubens

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Peter Paul Reubens was born on June 28, 1577 in a city near Antwerp, Belgium. His father was a leader in the Calvinist (Protestant) faith and his mother was strongly Catholic in a time of great religious upheaval in Europe. Growing up in such a religious environment led Reubens to be a deeply religious man. He became a voice in the Catholic church and many of his paintings depict religious subjects. Reubens entered an apprenticeship at age 14, where he learned primarily by copying works of the masters. He graduated and gained master status, then moved to Italy to continue his studies. After eight years, he returned to Antwerp and set up a thriving studio with several artists working under him. Reubens became a leading Flemish painter for altar-pieces and religious scenes as well as portraits done for noble families.

His work was quite stylized and illustrates a lot of the popular opinions of the day. He favored using robust and curvy women (usually nudes) for scenes to show his views of women as lesser to men in social standing, as well as virtuous, fertile and beautiful. Men on the other hand, were shown as extremely muscular and usually in athletic, aggressive poses, showing his views of men as capable, forceful and powerful. He included a lot of symbolism in his paintings as well as religious references, even in his portraits. (This style preference has lead to the term Reubenesque to describe someone who is chubby.) Reubens is also known for his luminous style to painting. The faces almost seem to shine, he did this show the spiritual light coming from within.

Today we will try creating a portrait in a style like Reubens. By using chalk on a darker background, we can get a similar luminescence (or the look of light shining) from the face you will draw.  Have the students pair up to draw portraits of each other. Teach these tips to get a realistic portrait.

  1. Make a large oval and draw a light line down the center or slightly to the left or right with your pencil. (From forehead to chin.) You can do it however your partner is sitting, but it will look more natural if the person is looking a bit to the side rather than straight on.
  2. Now lightly draw another line across (ear to ear) about halfway down the face. It is best to give it a little bit of curve as well.
  3. Now draw the eyes with the base on the line.
  4. Divide the lower half evenly into thirds (it doesn’t have to be perfect!) make the bottom of the nose on the first line. You can do this by making a shallow “u” and then upside down “u”s on each side.
  5. Finally sketch in the lips on the bottom line.
  6. Now take the chalk and shade and fill in the face and the features, including hair.
  7. When the portrait is complete, let the students bring them to you or the teacher and spray them very lightly with a bit of hairspray from about 6 inches away. This will help set the chalk so it doesn’t smear.

november’s artist: katsushika hokusai

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Katsushika Hokusai was believed to be born on October 30, 1760 in Edo Japan (which is now Tokyo, Japan). The records from this period are scarce and not very clear, but he is thought to be the son of an artisan that made mirrors for the Shogun, who is a local military leader. At age 12, Hokusai was sent to apprentice with a bookmaker and he became very skilled at the woodblock carvings which were used to make illustrated books for the upper classes. His master, Shunshō was an artist of ukiyo-e, one of many different styles of woodblock prints that were used at this time. Often the prints were of Kabuki actors or Courtesan and generally used for entertainment. Hokusai eagerly searched for new techniques from other schools in the area and even studied works from as far away as France and Denmark. He was expelled from Shunsho’s school after the master died and it was taken over by a rival student. He said later that this was the cataylist for his artistic growth. “What really motivated the development of my artistic style was the embarrassment I suffered at Shunkō’s hands.” Hokusai went on to take his skill above the general artisan level to that of a true master, developing new techniques and creating images that are still reproduced and popular today. He moved away from the popular subject matter of courtesans and Kabuki actors to landscapes and images of daily life for people of different classes. Throughout this time, Hokusai changed his name several times, which was a common practice for artisans in Japan in the 1700-1800s.
By the time Hokusai was in his early 50s, he enjoyed fame and success. He took this time to write a serious of art instruction books. As well as cartoon-like books which he called Manga. These would heavily influence comic books as they are today. (Anime is also known as Manga today.) After this period, he changed his name to “Gakyō Rōjin Manji” (The Old Man Mad About Art) and did many of the works that are famous today, including “One Hundred Views of Mt. Fuji”. Hokusai was constantly seeking to produce better work, it is said that on his deathbed he exclaimed: “If only Heaven will give me just another ten years… Just another five more years, then I could become a real painter.” He died on May 10, 1849 at the age of 89.

Today we will make our own carvings. It takes so many hours and a lot of skill and practice to carve wood. We will try out cork which is a lot softer, but still a bit tricky. Please really emphasize the need to be careful with the nails to the students. I have done this in an after-school program and the kids loved it, but we will need to keep a close eye to make sure everyone is safe. We will be using nails, please emphasize how sharp they are and how important it is to be very careful with them.

1. Lightly draw your initial or a very basic design with pencil on the top of the cork. Keep it simple! Remember straight lines are easier than curved ones.

2. Next you will carefully use the nail to press into the area and indent the initial or design. I find it easiest to use the nail to make dots along the line, then scrape to connect them.

3. Finally, press your stamp onto the stamp pads to load them with ink and press onto the paper.

october’s artist: joan miro

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Biography:

Joan Miro was born in Barcelona on April 20, 1893. His dad was a goldsmith and was very strict. He didn’t want Joan to become an artist; but his mother evened out his father’s harsh manner and encouraged him in his art. He started drawing lessons at age 7 and continued to art school as a young adult. This greatly dismayed his father and he enrolled in business as well. He worked as a clerk for a little while, but was so unhappy that he had a nervous breakdown. Afterwards he pursued his art full time, joining the Surrealist movement. The Surrealists use symbolism and imagery to create a dream-like work. He also pioneered the grattage technique (where you scrape through a layer of paint to create the image.)

Along with paintings, he created tapestries, sculptures and even did some work in architecture. Miro believed in departing from the usual methods of painting. He despised the typical stiff approach and rigid formulas of much of the art world. He believed in experimenting and trying everything he could think of. He painted with brooms, walked on canvases and even set them on fire! He said “I try to apply colors like words that shape poems, like notes that shape music.” Miro wanted his art to pinch and prod people. He wanted to create a strong reaction whether that it was good or bad didn’t really matter to him. Miro died of hear failure at home in Spain on December 25, 1983.

Take a look through Miro’s paintings together. Ask the students how the paintings make them feel. Do you think this is happy or sad? What do you think Miro was painting about? Explain that these are abstract paintings. Meaning they aren’t meant to look exactly like something in real life. Usually artists do have a real life object or scene they are drawing inspiration from though. What do you think inspired Miro for any of these paintings?

Project:

Today we will try out a mixed-media painting in Miro’s style. Mixed media means that we are using more than one type of material to make our piece of art.

1. First take a few a seconds to draw a squiggle on your paper. You could close your eyes if you want or just make a quick set of loops and swoops.

2. Now take a look at it and see if you can find a picture in there. Use the markers to go over the lines and add details to make the picture come to life. Remember with abstract art, it doesn’t have to “Look like anything”!

3. Use the water colors to fill in large background blobs of color if you’d like.

it’s time for summer day camps

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I am so excited for this year’s day camps! We had a great time last year and I look forward to sharpening skills and creating fun things with your kids!
Each camp will run from 11:00am to 3:30pm and will Include lunch. (Please let me know if your child has a food allergy.) All supplies are included.
Cost is $45.00 per child per class.
A $5.00 discount will be given for enrollment in multiple classes.
Observers full course $175/ Masters full course $210
*Class sizes are limited and subject to cancellation for lack of enrollment.

Observers (ages 5-8)         
Plein Air Painting June 20th
Jewelry June 27th
Graphic Techniques July 12th
Puppets July 19th
Color Theory August 9th

 

Masters (ages 9+)
Plein Air Painting June 22nd
Jewelry June 29th
Graphic Techniques July 14th
Puppets July 21st
Master Class Bootcamp August 3rd
Color Theory August 11th

 

Plein Air Painting
We will head to Wheeler Farm to learn the skills needed to work rapidly outside, we will study landscapes as well as how to draw/paint animals.

Jewelry
We will explore the different methods used to make jewelry and create our own pieces; working with wire, clay, leather, and beads and paper.

Graphic Techniques
We will learn techniques used in comics, anime, and cartoons to create an action packed illustration. Then create our own graphic storyboard and/or novel.

Puppets
We will look at the wide variety of methods to creating puppets from marionettes to finger puppets and even the Muppets. Then we will make our own characters using several different techniques. At the end of the day, we will talk about scripting and story basics and put on puppet shows for our classmates.

Master Class Bootcamp
This camp is a spot for more experienced artists to perfect their work and learn new techniques. Bring a project you are working on for help as well as starting a new piece in class. Media will vary.

Color Theory
We will work with several different mediums (some even edible!) to explore the color wheel and how to mix and tint different colors. We will learn how to best use the color wheel to set the toe and feel for a painting. We will then compose our own painting on Gesso board.

Click here to email your name, child’s name and age, and phone number to enroll.

may’s artist: berthe morisot

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Full Biography:

Berthe Morisot was born January 14, 1841, in Bourges, France. Her father was a high-ranking government official and her grandfather was an influential Rococo painter. She and her sister Edma began painting as young girls and earned recognition despite not being allowed to attend any official art institutions (which weren’t open to women).

Berthe and Edma traveled to Paris to study and copy works by the Old Masters at the Louvre Museum as well as learn how to paint outdoor scenes. Here she exhibited in the Paris Salon in 1864 and would continue to have a regular place in the show for the next 10 years.

In 1868, fellow artist Henri Fantin-Latour introduced Berthe Morisot to Edouard Manet. The two formed a lasting friendship and greatly influenced one another’s work. She joined the Impressionist movement and eventually left the Salon to show with her friends. (Think of the Impressionists at the Indie painters of the late 1800s.)

In 1874, Berthe Morisot married Manet’s younger brother, Eugne, also a painter. The marriage provided her with social and financial stability while she continued to pursue her painting career. Able to dedicate herself wholly to her craft, Morisot participated in the Impressionist exhibitions every year except 1877, when she was pregnant with her daughter.

Berthe Morisot portrayed a wide range of subjects—from landscapes and still lifes to domestic scenes and portraits. She also experimented with numerous media, including oils, watercolors, pastels, and drawings.

After her husband died in 1892, Berthe Morisot continued to paint, although she was never commercially successful during her lifetime. She did, however, outsell several of her fellow Impressionists, including Monet, Renoir, and Sisley. Berthe Morisot contracted pneumonia and died on March 2, 1895, at age 54.

Berthe Morisot was the model of a modern woman, a century early. She held her own in a world dominated by men; all while successfully having a family just like so many women strive to do today. Manet said of her: “This woman is an exceptional painter. Too bad she isn’t a man.”

Simplified Biography:

Berthe Morisot was born January 14, 1841, in Bourges, France to a comfortable middle class family. Her grandfather was a famous painter and her family appreciated art. She and her sister Edma were given private painting lessons all growing up and were even well known artists despite the fact that women weren’t allowed to publicly show their art or attend the art schools.
Berthe joined, and was an influential artist in the Impressionist movement. She married the younger brother of a famous Impressionist painter and had a little girl. She continued to focus on her art all through her life, even though it was uncommon for a woman to be more than a hobby painter in the 1800s. She died quite young of pneumonia. This combined with the fact that she was a woman, so she didn’t have as many opportunities as an artist, means that we don’t have many of her paintings. But we can see her influence on this important movement in art.

Project:

Why do you think they called them the Impressionists? If you look at her paintings, you can see how the brushstrokes are very loose and not detailed. Impressionists painted quickly– just giving you the impression of the subject. Today we are going to experiment with this style. Monet (that we studied in December) was also an Impressionist.
Berthe Morisot was an adventurous artist. She was known for mixing media (media is what we use to make the art…paint, clay, crayons, pencil, etc.) Today we are going to do the same thing.

1. Think of your subject. Many Impressionists painted everyday scenes; such as Morisot’s laundry hung out to dry or a mother at her baby’s cradle.

2. Now quickly sketch the main details with the pastels. Don’t worry about getting too detailed…just give the impression.

3. Use the thickened or Impasto paint and the paint textured with sand to put in some broad stokes and add dimension to your piece. Use loose fast strokes. Don’t overwork the paint or you will loose the texture.

4. (Find a place to set them to dry…these will take a little longer to dry.)

april’s artist: lorenzo ghiberti

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Full Biography:
Lorenzo di Cione Ghiberti was born in Pelago, near Florence, Italy, in 1378 (the exact month and day of his birth are unknown). He was well-trained by his father, Bartoluccio Ghiberti, a well-respected goldsmith in Florence. In 1392, he was admitted to the “Silk and Gold” Guild as an apprentice, and quickly rose to the level of master goldsmith. In 1400, he traveled to Rimini to escape the plague in Florence and received further training as a painter, working on wall frescoes at a Castle.

Ghiberti’s career would be dominated by 2 major works, 2 sets of doors for the Baptistry of Florence. Ghiberti won a contest to receive the work, submitting one panel showing the story of the sacrifice of Isaac from the bible. Originally the doors were planned to show scenes from the Old Testament, but then changed to 14 scenes from the life of Christ in framed panels. It took over 20 years to complete the doors. Each panel is strikingly detailed and are cast in 3D (remember this is in the 1400s; so no power tools or computers!)

During that time, Ghiberti also created the designs for the stained-glass windows of the Florence cathedral, and served as architectural consultant to the cathedral’s building supervisors. He also cast bronze sculptures including a larger than life sized statue of John the Baptist and bronze reliefs for another baptistry.
After completing the doors, he spent the next 10 years traveling and studying art and philosophy, he was especially inspired by Humanism. (A Renaissance cultural movement that turned away from medieval focus on the divine in favor of the Greek and Roman views of man, his struggle and thought and the goodness found in everyone.) Lorenzo Ghiberti incorporated these techniques into the baptistery’s next set of bronze doors, which are considered his greatest work. Dubbed the “Gates of Paradise” by Michelangelo, each door portrays five scenes from the Old Testament. In the individual panels, Ghiberti used a painter’s point-of-view to heighten the illusion of depth. He also extended that illusion by having the figures closer to the viewer extend outward, appearing almost fully round, with some of the heads standing completely free from the background. Figures in the background are accented with barely raised lines that appear flatter against the background, making them appear farther from the viewer.
Throughout his career, Ghiberti was actively interested in other artists’ work; his workshop was a gathering place for several prominent artists who were on the cutting edge of early Renaissance technology. Whether through collaboration, competitive rivalry or just familiarity with each other’s work, each artist influenced the other. Several apprentices working in his shop would later become well-known artists themselves.
Ghiberti was also a historian and collector of classical artifacts. In his Commentarii, a collection of three books that included his autobiography (the earliest surviving autobiography of an artist.), he expounded on the history of art as well as his theories on art and humanist ideals. After a life of building the foundation of Renaissance art and expanding its boundaries, Lorenzo Ghiberti died on December 1, 1455, at the age of 77, in Florence.
Simplified Biography:
Here is a simplified biography for lower grades. Please son’t feel you have to read either of these word for word, use the information and tailor it to what you think is best for your class.
Lorenzo Ghiberti was born in Italy, in 1378, the exact month and day of his birth are unknown because that is a really long time ago! His father was a goldsmith, who is someone who makes things out of gold. You can imagine that this was a pretty respected profession. Ghiberti was very talented and became well-known for his work. When he was in his 20s, he won a contest to make special doors for a very famous church in Italy. He made scenes out of gold from Christ’s life, then later made another set showing scenes from the bible. These were so detailed and so much work, it took about 20 years to make each set!
Ghiberti also made statues out bronze, another type of metal. A few of these were larger than life sized, like the one in the picture of John the Baptist. Imagine how much work it took to make these back in a time when there weren’t computers, power tools or even electricity to help! Look at the intricate detail.
Another thing that was special about Ghiberti was that he was very interested in other artists. He built a large studio that was a gathering place for many of the most talented artists of the early Renaissance. Many famous artists studied and developed under his care.

Project:
Today we will create foil reliefs (a raised or embossed design) that mirror Ghiberti’s work. You will want to make sure to follow the steps carefully to get the best result for your relief.
1. Draw a preliminary sketch: artists do this to prepare for a new project. It allows you to get all the details where you want them before creating the final piece. You won’t be able to erase on the foil, so get things how you want them in sketch. You will trace over your sketch to emboss the design on your foil.
2. Lay the piece of foil on a cardboard square, then lay your drawing on top. Grades 4-6 can flip the foil over to create a design with raised and lowered lines. For the younger grades, it is probably best to keep it simple and just trace the design. Use the wooden sticks on the cart, one end is pointed for fine lines (Tell the kids to be careful, if they press too hard they could tear through.) The other side can be used to make thick lines or emboss an area. *If you pick up your drawing to check the foil, make sure you carefully line it back up before you start tracing again! (We do have a few extra, but encourage kids to work with what they’ve got. If it feels like it is an emergency, you can give them a new one.)
3. After you have finished your relief, you can mount it on the card stock square provided. Apply the glue to the paper so that it doesn’t accidentally mark the foil (Don’t get too much glue!). It is a good idea to center the foil and then make a few light marks so you know where to put the glue. Then gently lay the foil on top and lightly press it down.

after school classes start next week!

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Art Classes start next week and I am so excited! Wednesdays at 3:30p for ages 5-8 and 4:30p for ages 9-14. We will work on figure drawing, composition, and the basic “rules” of creating a scene for the months of April and May and finish by painting a canvas.

I still have a couple spots left if you would like your child to join. Can’t wait to get creating with these cute kids again!

Megan painting

 

march’s artist: edward hopper

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This month’s lesson is a little different in that we have an excellent picture book biography for Edward Hopper. For the younger grades, just read the book. For the older grades, if you have time, you may want to ask if there are questions or share some of the basic facts below as you talk with the students after. I will leave them in bullet form for easy reference.

*Born July 22, 1882, in Nyack, New York (a small shipbuilding community on the Hudson River.) You can see this influence in his many nautical themed works. He loved the sea.

*He was the younger of two children in an educated middle-class family. His family was supportive of his art.

*At age 5, people were noticing his natural talent.

*Hopper trained as an illustrator and devoted much of his early career to advertising and etchings. (He has been quoted on it being confining work though.)

*After moving to New York City, Hopper began to paint the commonplaces of urban life with still, anonymous figures, and compositions that evoke a sense of loneliness.

*He was able to make several trips abroad to Paris and Spain in the early 1900s. He loved the impressionists, especially Manet and Monet and Cezanne. Their work highly influenced his.

*He took the Impressionist fascination with light and used it in a much more detailed and realistic way. Critics dubbed it “soft realism”

*In 1924, he married Josephine Nivison, who was also a painter and the two worked side-by-side for the rest of their lives. She was almost always the model in his pictures and was often called his muse.

Great art is the outward expression of an inner life in the artist, and this inner life will result in his personal vision of the world.” -Edward Hopper

Talk to the students about this quote and what they think it means. Ask them to look at his work and notice the clean lines, dramatic light, and emotional quality of the work. Point out that he was trying to help us see the world as he saw it. Encourage the students to take time and do the same thing on their canvases.

(**For younger grades I would hold up one or two of the paintings and say “Look at how crisp the lines are. There isn’t a lot of stuff in this painting. Why do you think Edward Hopper did that? What kind of feeling does this give you?” Maybe pare it down even more for k-first.)

This month, the students get to paint a canvas board. There is only 1 per student. They can pain over any mistakes, but can’t start again. Walk them through these steps:

1. Think of a place you like or a place that has a strong emotion tied to it. (Show Rooms by the Sea. Encourage the kids to paint something from life that they know well. Tell them that real artists don’t tend to paint a pretty landscape with flowers and a sun in the corner.)

2. Very lightly sketch where you want the details on your board. Only put in the broadest details! Do not draw a lot and try to draw very lightly because the pencil lead tends to smear in the paint.

3. Now start with the background, put in the sky and surrounding ground.

4. Work from the back to the front of your painting. (ie. If you are making a person, paint in the face, then the hair, then go back in and add facial features after the skin tone has had a bit of time to dry. For a landscape, put in the sky, the grass and then go back in and put the trees or the swingset. Etc.)

5. Don’t forget to put your name on the back (and sign the front if desired).

Tell the students that these canvas boards are used by real artists and hopefully are something they will take home and hang in their houses. They can be framed easily in an 8×10 frame (just remove the glass so it can breath.)

Thanks again for all you do! Let me know if you need anything!

february’s artist: faith ringgold

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Faith Ringgold was born Faith Willi Jones in 1930 in the Harlem area of Manhattan. Her mother, a fashion designer and seamstress, encouraged Faith’s creative pursuits from a young age. Ringgold earned a bachelor’s degree from the City University of New York in 1955. She then taught art in New York City public schools and worked on a master’s degree at City College, which she completed in 1959.

Ringgold’s oil paintings and posters, begun in the mid-to-late 1960s, carried strong political messages in support of the civil-rights movement. She was an avid fighter for the right for black artists to show their work in New York’s museums and co-founded Where We At, a group for African-American female artists, in 1971.

  faithringgold_fullsize_story1

In 1973 she quit teaching in New York City public schools to devote more time to her art. In the early 1970s she abandoned traditional painting. Instead, Ringgold began making unstretched acrylic paintings on canvas with lush fabric borders like those of Tibetan thangkas. She worked with her mother, Willi Posey, to fashion elaborate hooded masks of fabric, beads, and raffia, which were inspired by African tribal costume. She also began making fabric “dolls” and larger stuffed figures, many of which resembled real individuals. Ringgold used some of these works in Performance pieces—the earliest of which, Wake and Resurrection of the Bicentennial Negro, was first performed in 1976 by students using her masks, life-size figures, and thangkas, along with voice, music, and dance.

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Later, she expanded the format of her thangka paintings to quilt size. Her mother pieced and quilted the first of these new works, Echoes of Harlem (1980), before dying in 1981. It was in 1983 that Ringgold began to combine image and handwritten text in her painted “story quilts,” which convey imaginative, open-ended narratives; in the first one, Who’s Afraid of Aunt Jemima? (1983), the familiar advertising character is turned into a savvy businesswoman. Ringgold’s use of craft techniques ignored the traditional distinction between fine art and craft, while demonstrating the importance of family, roots, and artistic collaboration.

From 1984 to 2002, Ringgold was a professor at the University of California, San Diego. During this time, she adapted the story quilt Tar Beach into a picture book. The success of Tar Beach led to several other books. Her talent in many different media allowed her to be a powerful voice during the civil rights movement. Today, she continues to paint, quilt, sculpt and publish in her homes in California and New Jersey. Her work now often celebrates black heroes from history.

*Take a look through Faith Ringgold’s book and if you have time, read one or two, they are fantastic!

Faith_Ringgold_Groovin_High

One of the most impressive thing about Ringgold’s work is that she adapted something that many of us have in our homes ( a utilitarian object) to create art. However, story quilts have been sewn for hundreds of years, with varying amounts of detail and consideration. This brings up the question of the difference between craft and art. Take a minute to discuss the 3 main levels of people who create, Artists, Artisans, and Craftsmen. It is said that “A craftsman works with his hands, an artisan works with his head and his hands, and an artist works with his heart, his head and his hands.” Ask the students what they think that means. What is the difference between the three categories? Honestly, it is a blurry and hard to define line. However, we can generally agree with this statement:

Artists are there to provoke you to think or feel in any way shape or form. If your reaction is positive or negative it makes no difference. The object is to get a reaction from the beholder.

Artisans are masters of their craft and able to design pleasing objects that the public would love to posses.

The Craftsman has mastered his craft and can fabricate the artists or artisans vision.”

Today we will make our own story quilts. For the sake of time, you will want to keep your story or image fairly simple. Maybe a really great day or a special memory; or possibly a scene from one of your favorite stories. Use the fabric scraps to create blocks of color and add detail with crayon. Cut pieces of fabric from the strips in the bin. Put your scraps back in the bin for others to use. Add in text to help convey the story if desired; try to find unusual locations for the text! There aren’t any rules, just have fun!

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 Whose Afraid of Aunt Jemima

december’s artist: claude monet

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Oscar-Claude Monet is widely considered the driving force behind the Impressionist movement. His paintings are still beloved and highly reproduced today. He was born on November 14, 1840 in Paris, France into a middle class family. His mother was a singer. His father wanted Claude to join him in the family grocery business, but Monet wanted to become an artist. He enrolled in art school at age 11 and was well known in Le Havre (in Normandy, where the family settled later) for his charcoal caricatures which he sold at the beach.

His 1872 painting, “Impression Sunrise” (which depicted sunlight dancing and shimmering on water), gave the name to the entire Impressionist movement. A critic coined the term in a harsh review of the painting, but theImpressionist painters took it up, refusing to be subject to the established art community. They stopped submitting their work to the Paris Salon (the only place for artists to show their art at the time) and created their own galleries after being rejected. They refused to let the critics deter them. And interestingly, these artists have continued to be popular over one hundred years later. (Consider that most people know who Monet and Degas are, but not many (average, non-art loving) people can tell you who Constable and Turner are.)

Monet felt that “…nature knows no black or white and nature knows no line” which led to beautifully colorful and energetic pieces of work. He began to think in terms of colors and shapes rather than scenes and objects.Impressionists strived to capture the many colors reflected in light, meticulously representing the colors seen in highlights and shadows. They used quick distinct brush strokes that give the painting a feel for a fleeting moment captured on canvas; rather than well blended, invisible strokes.

Monet painted several groups of landscapes and seascapes in what he considered to be campaigns to document the French countryside. These began to evolve into series of pictures in which he showed the same scene many times in order to capture the changing of light and the passing of the seasons. He was said to take several canvases out with him on a plein air (or outdoor) painting session and work quickly on one canvas until the light changes, then move to the next canvas to get the specific quality of light at different times of day.

At the beginning of May 1883, Monet and his large family rented, then bought a house and 2 acres on which he planted elaborate gardens. Here he painted and lived out the rest of his life. Creating many of his most famous series, such as his waterlilies. Monet died of lung cancer on 5 December 1926 at the age of 86

Today we will try out the impressionist style by painting a landscape. Think of one of your favorite places. Quickly sketch in the very biggest features in a basic way. No details! Here are a few tips that will help you out as you start to paint:

  • Keep in mind the name of this movement! We are just giving an impression of a scene here. Don’t get too caught up in the details. Try squinting your eyes and looking around at different objects in the classroom; see how this blurs the details. Try to make your landscape similar. (Rather than individual leaves or flowers, you would use dabs of paint.)
  • Apply the paint somewhat thickly (impasto), use bold strokes and don’t blend the colors completely.
  • Use complementary colors (across from each other on the color wheel) to show the shadows and highlights.
  • Mix color right on the canvas/board. Let them remain a bit separate, work quickly and loosely.

1. Start with a very loose watery wash from the bottom to the top of the sky. Add a bit more blue at the top so that the sky is lighter towards the horizon.

2. Now start to add in details in the background of the landscape, add a little more color to your brush to create a thicker mix than the sky. Use short strokes to apply the paint slightly more impasto (thicker) than the initial wash in we used for the sky.

These dabs of color help to move the viewers eye around the painting. Keep in mind the tips from above. Don’t get too caught up in the details….we are just giving an impression.